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Brandenburg Concerto No 5 in D major, BWV1050

Introduction

The most important thing to note about the Brandenburg Concerto No 5 in D major, BWV1050 is that this was the first time ever that the harpsichord had been used in a concerto for anything other than the continuo. Always in the background, providing the necessary colour and rhythmic stability (and often conducting as well), the continuo player never really had a chance to shine; but here he takes his revenge! At the beginning of the opening Allegro it almost seems as though the other soloists (flute and violin) have the more important musical dialogue, but gradually the keyboard asserts itself, finally brushing all others aside and launching into an extraordinary sixty-five-bar cadenza. If I say that it is all entirely written out by Bach, it is only because I am frequently asked after concert performances if I wrote it myself! It begins quite lyrically, but then comes a tremendous build-up over a long pedal point in the bass. Some really wild figurations and large jumps in the left hand take us to a climax in B minor. A brief five-bar bridge masterfully returns us to the tonic and the orchestral ritornello. It is thought that Bach might have been inspired to write such a piece to show off the new two-manual harpsichord he had just received from Berlin. It was certainly written with a powerful instrument in mind.

The second movement in B minor, marked Affettuoso, is a touching trio sonata for the three soloists. Unlike the middle movement of the Triple Concerto, however, there is need for a continuo group to accompany the flute and violin when the keyboard is not playing as a soloist. Normally, of course, the one harpsichordist would do both, but here we have used both instruments to clearly separate those passages. The mood is gentle and tender, but with the sense of sorrow that often seems to come with the key of B minor.

The final Allegro is a spirited gigue with an upbeat that gives it a wonderful ‘lift’. Throughout this concerto there is no second violin part – only a small ‘ripieno’ group. Bach himself usually played the viola, but obviously in this piece was seated at the harpsichord, so his place was no doubt filled by the second violinist.

Recordings

'The musicianship of these players is remarkably infectious, engaging and communicative as well as brilliantly accomplished' (CDReview)'I can think of no performances which communicate such a sense of freshness and sheer enjoyment… superb… bouquets all round. A clear winner' (CDReview)» More

Dunedin Consort, the team that brought you the St John Passion, is back with its first instrumental release: Bach's Six Brandenburg Concertos. Under the direction of Bach specialist John Butt, the Dunedin Consort demonstrates its collective experi ...» More

'Her [Hewitt's] playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation—twirls, flutters, arabesques—an ...'Hewitt's Bach is well-known for its expressive restraint, lucid textures and rhythmic grace. These virtues are abundantly present in her thoughtful, ...» More

'Her playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation—twirls, flutters, arabesques—and yet it ne ...'Hewitt's Bach is well-known for its expressive restraint, lucid textures and rhythmic grace. These virtues are abundantly present in her thoughtful, ...» More

'Her playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation—twirls, flutters, arabesques—and yet it ne ...'Hewitt's Bach is well-known for its expressive restraint, lucid textures and rhythmic grace. These virtues are abundantly present in her thoughtful, ...» More